Last updated: June 26, 2026
DISCLOSURE DAY (2026)
Music by John Williams
Orchestrated & Conducted by John Williams, Randy Kerbert and William Ross
RELEASE DATE
June 12, 2026 (digital)
LABELS
Back Lot Music (digital) / Waxwork Records (physical)
CD and Vinyl versions now available for pre-order at Waxwork Records
TRACK LIST
01. listen… (4:08)
02. memory… (4:07)
03. dive… (4:37)
04. chase… (2:14)
05. believe… (3:35)
06. in vivo… (2:49)
07. negotiation… (3:25)
08. empathy… (2:24)
09. celestial… (6:50)
10. unseen… (3:09)
11. kcxe… (5:56)
12. signs… (2:37)
13. home… (3:37)
14. caught… (5:56)
15. disclosure… (4:22)
16. reprise… (4:54)
TOTAL TIME – 64:40
Music recorded at Sony Pictures Studios Scoring Stage
AUDIO
Full album now available on digital platforms
REVIEWS & ANALYSES
- Soundtrack Album Review
- Reviews of the Score as Heard in the Film
- Soundtrack Album in Chronological Order
- Complete Cue List
EXTERNAL REVIEWS
VIDEO REVIEWS (YouTube)
*NEW* PODCASTS
RECORDING SESSIONS DETAILS (from Jon Burlingame’s article on Variety)
- Williams began writing last summer. An orchestra of 96 players was assembled, with the first recording date at Sony (in the recently renamed “John Williams Music Building”) on Sept. 11, 2025.
- While the film’s credits say that the score was “orchestrated and conducted by” Williams along with longtime colleagues William Ross and Randy Kerber, those closest to the maestro insist that Williams orchestrated the entire score and conducted much of it, usually while seated but also standing at times.
- Recording continued through the fall and winter: two more sessions in October, two in December, one in January 2026 and a final session on Feb. 20. The extended schedule allowed the composer ample time to compose, so the score developed as the months rolled on.
- “John was in amazing spirits,” says one musician, “always so gracious and humble. He was very acutely aware of rhythmic flaws and nuances, and sometimes obsessed a little. Spielberg was delighted with everything.”
- On Dec. 19 the orchestra was joined by a 30-voice female choir. They were evenly divided into sopranos and altos, plus a solo voice for a handful of cues. The choice of singer required some experimentation and auditions by a handful of singers, including children, but the final choice (credited in the film as “vocal soloist”) was Holly Sedillos, whose voice can be heard briefly in the film but more prominently during the end credits.
- The choir recorded their wordless vocal sounds together with the orchestra, another unusual aspect of the sessions. Most composers record choir separately and mix them with orchestra later; Williams prefers everyone in the same room at the same time.
- All of the sessions were closed and attended by very few. Spielberg was in the cavernous studio, just a few feet away from Williams, along with music editor Ramiro Belgardt; together they shared a small screen and could watch the film unspool as cues were recorded. No film was projected onto the big screen behind the orchestra, as would happen under normal circumstances; that way no musician or studio technician could see any of the (then) super-secret footage.
- Over the course of seven sessions, Williams recorded more than two hours and 20 minutes of music. The final film contains 82 minutes of score. Some of the extra music was reserved for the soundtrack album.
FROM STEVEN SPIELBERG
Spielberg talks Williams’ score on ClassicFM (source):
- “Disclosure Day is probably the most restrained score he has ever written for one of our collaborations – at least until it is not. But until those moments, he holds back in a way that is subtle and beautiful and enriches the experience. It is like he is accompanying the film from slightly behind it, pushing it forward.”
“Scoring is usually the last thing we do and I always say it is the reward for finishing a movie – the reward being getting to listen to a new John Williams score.”
“He’s the maestro of film music today, but he also could hold a candle to the the great composers of the 30s, 40s, 50s and 60s. He has done so much for my films, he’s elevated the experience emotionally. If I can make my audience’s eyes wet, Johnny’s score will allow the tears to actually fall.”
Steven Spielberg on how John Williams’ score for Disclosure Day compares to the Close Encounters of the Third Kind score (source):
-
There’s one huge difference between the music of Disclosure Day and Close Encounters -well there’s a lot of differences. The Close Encounters score is almost operatic… But the Close Encounters score leads the film… it’s out in front of the movie. But I wanted John’s music in Disclosure Day to be behind the film, to be underneath the film. To lift the movie, but not too far… but just to be able to guide it, lift it, but not ever get in front of it.”
Steven Spielberg at the London premiere:
- When John saw the movie for the first time, he did something which he’s done a couple of times but not often. He said: “This time, I’m going to write music not to lead the film; I’m going to write music under the film and give it a slight nudge forward, but I’m not going to lead”—like the Indiana Jones and Close Encounters scores lead the film, so symphonic. This is more subtle. But it’s still pure John Williams genious.
From Empire Magazine’s Disclosure Day preview (source):
- Steven Spielberg
It’s late February, and Spielberg is on Disclosure Day’s home stretch. “John Williams did his 30th score for me, which we celebrated a couple of days ago,” he begins. “It was bittersweet to say goodbye to the orchestra because we did many sessions, but Johnny provided such a beautiful score.”
Steven Spielberg on The Late Show with Stephen Colbert:
- During a recent interview on The Late Show with Stephen Colbert, Spielberg mentioned that when he asked Williams to score the film, the Maestro suggested four other composers, but Spielberg insisted that he wanted him to compose the music for their 30th collaboration.
Spielberg on Disclosure Day‘s Finale:
- According to various sources, Spielberg recently stated that the film concludes in a 20-minute finale that would bring everyone to a united epiphany about what has been happening in the world, what has been kept from us and what we now know.”
PHOTOS
John Williams and the Disclosure Day orchestra contracting team (source)
John Williams and Steven Spielberg with LA Chorus singer Holly Sedillos at the Sony Pictures Scoring Stage (source)
John Williams conducts at the recording sessions
Original Soundtrack Album – Physical Releases (CD & Vinyl)
More images at the Waxwork Records pre-order page
VIDEOS
Recording sessions footage
Steven Spielberg talks John Williams’ score at the film’s London premiere
Steven Spielberg on John Williams’ score for Disclosure Day and train scenes that “scared” him and his actors pic.twitter.com/tLOCdTxbj4
— Deadline (@DEADLINE) June 4, 2026